Grace Hudson could not have known that the project she and her husband undertook when she began to paint portraits of the Pomo and he began to amass a fine collection of their exquisite baskets and other impedimenta would amount to nothing less than the record of an all but vanished people and way of life. Her paintings and the captions she wrote and afffixed to them bear witness to the daily lives of a people who, despite their years of suffering, laughed and loved and played, worked and worshipped and prayed, a people who continue to this day, in their small remaining clusters, to fight for the recognition we see in her work. Grace Hudson’s portraits, particularly those of Pomo children, testify to the simple joys and wonders of childhood that unite all people.